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---------------------------------------------------

Stagecraft Digest, Issue #362

 1. PAUL RICHARDSON/QVC is out of the office.
    by PAUL_RICHARDSON [at] qvc.com
 2. Re: Cleaning cyc (was positioning hazer)
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 3. Re: CPU lighting control
    by "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
 4. Re: theatre company reference
    by Delbert Hall <delbert.hall [at] gmail.com>
 5. Rigging Certification (was RE: theatre company reference)
    by "Scheu Consulting Services" <peter [at] scheuconsulting.com>
 6. Re: baaack & related question
    by "Paul Schreiner" <pschreiner [at] rmwc.edu>
 7. Re: Delrin
    by "Shawn Nolan" <ShawnN [at] entertainmentstructures.com>
 8. Re: theatre company reference
    by "Bll Conner" <bill-conner [at] att.net>
 9. Re: Rigging Certification (was RE: theatre company reference)
    by Delbert Hall <delbert.hall [at] gmail.com>
10. Re: Who said that? part 2
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
11. FW: related question
    by "Paul Guncheon" <paul.guncheon [at] verizon.net>
12. Re: baaack & related question
    by Stephen Litterst <slitterst [at] ithaca.edu>
13. Re: related question
    by "jsmith at theatrewireless.com" <stagecraft [at] theatrewireless.com>
14. Re: Delrin
    by Mick Alderson <alderson [at] uwosh.edu>
15. Re: Delrin
    by Dale Farmer <dale [at] cybercom.net>
16. Re: New here
    by "C. Dopher" <brooklyn [at] dopher.com>
17. Re: Who said that? part 2
    by "C. Dopher" <brooklyn [at] dopher.com>
18. Re: baaack & related question
    by Delbert Hall <delbert.hall [at] gmail.com>
19. Re: baaack & related question
    by "jknipple" <jknipple [at] howardcc.edu>
20. Batten Grounding (was Delrin)
    by Greg Persinger <gregpersin [at] comcast.net>
21. Rigging Certification vs. Being Qualified
    by "Scheu Consulting Services" <peter [at] scheuconsulting.com>
22. Re: Who said that? part 2
    by Steve Larson <tiptd [at] theatreinthepark.com>
23. Re: Rigging Certification vs. Being Qualified
    by Delbert Hall <delbert.hall [at] gmail.com>
24. Re: baaack & related question
    by Dale Farmer <dale [at] cybercom.net>
25. Re: Rigging Certification vs. Being Qualified
    by "Scheu Consulting Services" <peter [at] scheuconsulting.com>
26. Re: Cleaning Dance Floor
    by Barney Simon <barney [at] JosephCHansen.com>
27. Re: New here
    by Dale Farmer <dale [at] cybercom.net>
28. Vacu form machine
    by "richard j. archer" <rja10 [at] cornell.edu>
29. Standard door dimensions
    by Jim Ream <ream [at] uindy.edu>
30. Re: Standard door dimensions
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
31. Re: baaack & related question
    by Greg Bierly <gbierly [at] dejazzd.com>
32. Re: baaack & related question
    by Delbert Hall <delbert.hall [at] gmail.com>
33. Re: Scuff Marks New Direction - MOVIN' OUT
    by "Ehrenberg, Steven" <StevenEhrenberg [at] clearchannel.com>
34. Re: Standard door dimensions
    by Pat Kight <kightp [at] peak.org>
35. Re: baaack & related question
    by Wood Chip-P26398 <Chip.Wood [at] motorola.com>
36. Re: Standard door dimensions
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
37. double-faced gaff tape?
    by Jared Fortney <jared.fortney [at] gmail.com>
38. Re: double-faced gaff tape?
    by "Abby Downing" <aldowning [at] onlocationls.com>
39. Re: Standard door dimensions
    by "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
40. Re: double-faced gaff tape?
    by "Joe Golden" <Joe [at] elslights.com>
41. Re: double-faced gaff tape?
    by Brian Munroe <bpmunroe [at] gmail.com>
42. Scrim repair
    by Shell Dalzell <SDalzell [at] hawaii.rr.com>
43. CPU lighting control
    by "Jay, Jay Maury, Maury" <tnlighting [at] yahoo.com>
44. Re: Delrin
    by FrankWood95 [at] aol.com
45. Re: baaack & related question
    by "Chris Warner" <bearz2 [at] cox.net>
46. Re: Delrin
    by FrankWood95 [at] aol.com
47. Re: baaack & related question
    by FrankWood95 [at] aol.com
48. Re: baaack & related question
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
49. Re: baaack & related question
    by "Chris Warner" <bearz2 [at] cox.net>
50. Re: baaack & related question
    by Greg Williams <gwilliams [at] appstate.edu>
51. Re: baaack & related question
    by "Chris Warner" <bearz2 [at] cox.net>
52. Re: baaack & related question
    by Jerry Durand <jdurand [at] interstellar.com>
53. Re: baaack & related question
    by Greg Williams <gwilliams [at] appstate.edu>
54. Re: baaack & related question
    by Chris Davis <cdavis309 [at] optonline.net>
55. Music Man Rental Scenery
    by "Steve" <sschepker [at] charter.net>
56. Re: baaack & related question
    by Mike Brubaker <mdbrubaker [at] insightbb.com>
57. Heat Shrink Cable Labels
    by "Rob Carovillano" <rcarovillano [at] verizon.net>
58. Re: baaack & related question
    by "Mt. Angel Performing Arts" <admin [at] mtangelperformingarts.com>
59. Re: Scrim repair
    by Michael Beyer <mjblight [at] gmail.com>
60. Re: Who said that? part 2
    by James Kosmatka <james [at] cleveland-theater.com>
61. Cancelling EMR
    by "ladesigners [at] juno.com" <ladesigners [at] juno.com>
62. Re: baaack & related question
    by "Jon Ares" <jonares [at] hevanet.com>
63. Re: baaack & related question
    by "Don Taco" <taco [at] peak.org>
64. Re: Heat Shrink Cable Labels
    by Greg Persinger <gregpersin [at] comcast.net>
65. Re: baaack & related question
    by Greg Persinger <gregpersin [at] comcast.net>
66. Re: baaack & related question
    by "Jon Ares" <jonares [at] hevanet.com>
67. Re: Cancelling EMR
    by Jerry Durand <jdurand [at] interstellar.com>

*** Please update the subject line of your reply to use the subject
*** line of the message you are replying to! Please only reply to
*** one message subject in each reply.

----------------------------------------------------------------------

Subject: PAUL RICHARDSON/QVC is out of the office.
From: PAUL_RICHARDSON [at] qvc.com
Message-ID: <OF347B4C1C.59954B83-ON85256FE2.003BF117-85256FE2.003BF117 [at] qvc.com>
Date: Wed, 13 Apr 2005 06:54:43 -0400

I will be out of the office starting  04/13/2005 and will not return until
04/14/2005.

 In my absence, please contact Ryan or Lou at 6908 to take care of your
live show needs.  Scheduling questions should be refered to Chuck Lester at
1546.  I will respond to any other emails as soon as I return.  Thanks--



------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: Cleaning cyc (was positioning hazer)
Date: Wed, 13 Apr 2005 07:18:35 -0400
Message-ID: <000001c5401a$89255620$6601a8c0 [at] Dell>
In-Reply-To: <list-21813174 [at] prxy.net>


> He's a good man, a great carpenter and scenic designer, but 
> I've come to the conclusion he can't run a staff or a theatre 
> worth shit.  The backstage is the cleanest its been in two 
> years right now because I, my ME, and the dance SM have been 
> pounding away at that mess for a week.

I know nothing about your situation, other than that I've seen many
similar situations (and been in quite a few, myself), but I'm gonna go
out on a limb here....

I'd bet that the people who hired this gentleman think that anyone who's
proficient in one technical discipline must be proficient in all.

Climbing further out on that limb, I suspect they are people who use the
word "techie".



------------------------------

Reply-To: <stagecraft [at] jeffsalzberg.com>
From: "Jeffrey E. Salzberg" <stagecraft [at] jeffsalzberg.com>
Subject: RE: CPU lighting control
Date: Wed, 13 Apr 2005 07:33:56 -0400
Message-ID: <000101c5401c$b0ace530$6601a8c0 [at] Dell>
In-Reply-To: <list-21807990 [at] prxy.net>

I want to add to Jerry's support of Edgeview Software's Smartlight; it
doesn't do everything I'd like, but what it does, it does quite well.
For the price, it's a bargain.

Add to this the fact that the customer service at Edgeview is *very*
responsive (as is, by the way, Jerry's).



------------------------------

Message-ID: <b7318c48050413050128689f63 [at] mail.gmail.com>
Date: Wed, 13 Apr 2005 08:01:20 -0400
From: Delbert Hall <delbert.hall [at] gmail.com>
Reply-To: Delbert Hall <delbert.hall [at] gmail.com>
Subject: Re: theatre company reference
In-Reply-To: <list-21813081 [at] prxy.net>
References: <list-21807700 [at] prxy.net> <list-21813081 [at] prxy.net>

Technically, I believe these certifications do not "certify" the
individual as have any specific qualifications/skills.  Certification
only means that the individual has "met the specific eligibility
requirements including training, experience and education, and passed
a rigorous comprehensive examination."  From what I have read and
heard about the throughness of the exam, it is MY OPINION that anyone
who can pass the theatre rigging exam should be capable of  inspecting
a mechnical counterweight system. This is what I stated in my last
post.  I am basing my opinion on my review of the "Examination Content
Outline - Theatre Entertainment Rigger" on pages 18-20 of the ETCP
Candidate Handbook.

While this outline does not specifically say that the candate should
be able to inspect a mechnanical counterweight system, it does say  in
 Section 3.A.1. STANDARD SYSTEMS (referring to: counterweight, hemp,
powered and powered assist, curtain and track, fire curtain and smoke
vents") that candidates must be able to:
a.  Identify components of specific systems
b.  Understand design properties=20
c.  Install and operate spotlines set(s)
d.  Determine appropriate anchoring locations
e.  Bring load to a controlled stop

I take this to mean that the candidade must have a complete knowledge
of these systems and therefore, in my opinion, have the knowledge to
inspect them.

Furthermore, Section 3.A.6.f.  (referring to Curtain/Track) and=20
Section 3.A.7.a (referring to Fire curtain/Smoke vents) does
specifically say the that the candidate must be able to "Inspect
system."

I also believe that parts of Sections 1.B.2, 1B.5, and 1.B.7 also
relate to a complete understanding of the design principles of a
mechanhical counterweight system.

I maintain my belief that a person can pass this exam, should should
have the knowledge to inspect a counterweight system.  Since you seem
to disagree with this statement, I think a lot of people on this list
would like to know why you feel that I person who passes this exam
would NOT have the knowledge to inspect a mechanical counterweight
system.

Respectfully,

-Delbert=20


> No.  Delbert, the information you are offering is not accurate.  The
> certification does not qualify someone to inspect a system.  It was never
> our intention to certify inspectors. The handbook makes it very clear who=
 we
> are addressing and inspectors are not listed anywhere in that book.  I am
> wondering where you draw your information about the certification and why
> you are answering these types of questions.  I would think that these typ=
es
> of questions would be best answered by people who are involved in the
> development of the certification program, many of whom are on this list.
>=20
> Bill Sapsis
> Co-Chair  ETCP Rigging Skills Working Group
> Voting Member, ETCP Certification Council
>=20
> www.sapsis-rigging.com
> 800.727.7471
> 800.292.3851  fax
> 267.278.4561  mobile
>=20
> Please support the Long Reach Long Riders on their 2nd annual benefit rid=
e
> http://sapsis-rigging.com/LRLR.html
>=20
>=20
> on  4/12/05 5:44 PM, Delbert Hall at delbert.hall [at] gmail.com wrote:
>=20
> > For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/=
>
> > ---------------------------------------------------
> >
> >> After attending some sessions in Toronto that addressed the new riggin=
g
> >> certification, I have a
> >> question.  Would an ETCP certified rigger be
> >> a) qualified to inspect a system?
> >> b) qualified to inspect their own system?
> >
> > Remember, there are two different certerifcations: one in theatre
> > rigging, and one in arena rigging.  Assuming you mean a mechnaical
> > counterweight system in your questions, I would answer "yes" to both
> > questions if the technician passed the "theatre"  exam. If he/she only
> > passed the "arena" exam, well.... maybe, maybe not.  One does not have
> > to be certified to be qualified to inspect a counterweight system (no
> > one is certified today).
> >
> > -Delbert
>=20
>=20


--=20
Delbert Hall
Phone: 423-772-4255

------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Scheu Consulting Services" <peter [at] scheuconsulting.com>
Cc: delbert.hall [at] gmail.com ('Delbert Hall')
Subject: Rigging Certification (was RE: theatre company reference)
Date: Wed, 13 Apr 2005 09:09:24 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <000401c5402a$04347d00$c9fea8c0 [at] ROXY>
In-reply-to: <list-21815995 [at] prxy.net>

Let's be clear here. Bill has it entirely right and Delbert has it =
partially
right...

Without trying to open this whole thread again, ETCP will certify that a
person has "met the specific eligibility requirements...etc., etc., etc" =
as
Delbert correctly quoted from the Handbook.

ETCP does NOT certify a person as an "Inspector". While recognizing that =
and
individual has the ability to recognize, identify, and remediate theatre
riggings problems is part of the certification, it doesn't mean that =
person
is a "Certified Inspector". That an inspector is a "Certified Theatre
Rigger" is a qualification, not a description.

It's a fine, legal distinction, and fraught with semantic challenges, =
but
pretty clear in my mind.

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com
Tel: 315.422.9984
fax: 413.513.4966


------------------------------

Subject: RE: baaack & related question
Date: Wed, 13 Apr 2005 09:33:15 -0400
Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7C3 [at] exchange.rmwc.edu>
From: "Paul Schreiner" <pschreiner [at] rmwc.edu>

> Unfortunately, I think you were the one in error here. =20
> Though her attitude could have been better, yours could have=20
> been, too.  Drawing or no, if the director asks for a=20
> railing, your job is to ask what kind and how high and when=20
> does she need it by?  Your snippy remark about you'll do it=20
> when you got a note about it was bound to get her riled up,=20
> since by simply asking you about the phantom railing, you=20
> WERE getting a note about it!

I'm not saying I couldn't have handled it better...there were a lot of
issues w/r/t that particular production.  The tone of my response was
actually a lot nicer than what it translates as over email.  The
approach she took was adversarial from the beginning, assuming that I
was just letting it slide, when in fact had she asked why there wasn't a
railing yet we could have cleared the whole thing up.

The attitude of second-class citizenship, however, colored her whole
approach...and my response.  It's always a two-way street, and after 3
1/2 years of putting up with it at that point it had begun to wear on
me.

It also didn't help that she was either engaged to or married to a
gentleman who was a TD at another theatre. =20

> Bitch or not, she's still the director.  If you have issues=20
> with how the scenic designer was communicating, or rather not=20
> facilitating communication in this case, then the beef is=20
> with him.  (And the director has every right to communicate=20
> her notes to the designer and not to you and expect the=20
> designer to interpret and ...well, do his damn job.) =20

I don't necessarily agree with this.  Design notes should be
communicated to the designer, installation and operation notes should be
communicated directly to the TD.

> Where was the SM in all this?  Rehearsal reports are supposed=20
> to have all such notes included.

It was never made part of the rehearsal notes.  We were getting regular
reports with lots of other information, but this particular piece of
info was never communicated at all through the notes process.

> If you hadn't already removed yourself from the situation,=20
> I'd suggest that the next time you all work together, the=20
> first production meeting should be the time and place when=20
> you bring up communication and how you would like notes to be=20
> transmitted to you and by whom and by when.  These things=20
> have to be stipulated as much as anything else.

Again, under that type of rather poisonous atmosphere between faculty
and staff (and while I'm at it, let me also indicate that the design
faculty did not have the same approach--it was entirely the
acting/directing faculty who took that attitude), bringing things up
like that only serves to get that on public record.  It doesn't actually
mean it's going to happen that way.  Kinda like tilting at windmills...

------------------------------

From: "Shawn Nolan" <ShawnN [at] entertainmentstructures.com>
Subject: Re: Delrin
Date: Wed, 13 Apr 2005 10:02:45 -0400
Message-Id: <20050413141041.5114016C14F [at] mailout-1.isoc.net>

Delrin would appear to be a reasonable choice for a wear 
strip for this application.  Another popular material 
(I think already mentioned my others) is Ultra-High 
Molecular Weight High Density Polyethylene (variously 
know as UHMW or HDPE or some combination there of).  
The Delrin may be a bit more wear resistant 
(higher value for allowable compressive stress) 
than HDPE.  HDPE has a lower coefficient of friction.
I'm including a couple of links from a site called MatWeb 
( www.Matweb.com ) The first is for one of many 
available Delrin products, the other for an overview 
of HDPE.  If you go to the main site and simply type 
in "delrin" or "high density polyethylene" you'll get 
multiple hits from within the database.

Also, a very useful site for material properties in general. 
 

http://www.matweb.com/search/SpecificMaterial.asp?bassnum=P1SM03

http://www.matweb.com/search/SpecificMaterial.asp?bassnum=O4009	

That's all for now!
Shawn

Shawn Nolan, P.E.
Entertainment Structures Group
A Division of Steven Schaefer Associates
10411 Medallion Drive, Suite 121
Cincinnati, OH  45241
(513) 699-2571 direct line
(513) 542-3300 main line
(513) 542-5540 fax
(513) 706-3125 mobile
Shawn.Nolan [at] EntertainmentStructures.com
 
www.EntertainmentStructures.com <http://www.entertainmentstructures.com/>
Call ESG today!



------------------------------

Message-ID: <009401c54033$d600bed0$6a01a8c0 [at] BCA1>
Reply-To: "Bll Conner" <bill-conner [at] att.net>
From: "Bll Conner" <bill-conner [at] att.net>
Subject: RE: theatre company reference
Date: Wed, 13 Apr 2005 09:19:36 -0500

When I said I was uneasy, I meant I objected to the concept of one rule fits 
all - once a year for all theatres.  For some, once a month might not be 
often enough.  Others, with a trained, vigilant staff, an outside contractor 
for inspection once a year might be overkill - though ironically they 
probably are the theatres that do have regular inspections.

All this overlooks what an inspection entails or what qualifications an 
inspector should have.  I've seen too many "inspection reports" that clearly 
are walk throughs or the same canned warnings and admonitions and don't 
demonstrate much knowledge and understanding of a particular facility.

I don't do rigging system safety inspections.  Were I responsible - read 
that as liable - for pronouncing a rigging system safe, there would be a lot 
of closed theatres.  One starts asking questions like what's the origin of 
that cast iron sheave or that wire rope, or what's the building structural 
framing designed for, and it gets real time consuming real fast.  It 
requires someone that does it everyday.  (For similar reasons I wish rigging 
manufacturers and contractors wouldn't do consulting but some will fail to 
see the logic in that.)

Frankly, I don't know how someone not intimately familiar with the original 
installation can do an inspection.  But I guess some folk believe that an 
independent mechanic is always better and more objective than the factory 
trained mechanic for that particular make and model.  I wondered if the 
objection to this was more a case of the same individual rather than the 
same company.  I'd generally recommend the same company, if reputable, but 
would assume their own q.c. would have individuals other than the original 
supervisor or foreman or installer conduct subsequent inspections.

So of those of you who do offer inspection services, how many of you take 
full responsibility for the system when you are done and your 
recommendations followed and don't disclaim any responsibility for the 
safety of the system?

Wishing you all a safe day,

Bill






------------------------------

Message-ID: <b7318c480504130742186009c7 [at] mail.gmail.com>
Date: Wed, 13 Apr 2005 10:42:00 -0400
From: Delbert Hall <delbert.hall [at] gmail.com>
Reply-To: Delbert Hall <delbert.hall [at] gmail.com>
Cc: peter [at] scheuconsulting.com
Subject: Re: Rigging Certification (was RE: theatre company reference)
In-Reply-To: <000401c5402a$04347d00$c9fea8c0 [at] ROXY>
References: <list-21815995 [at] prxy.net> <000401c5402a$04347d00$c9fea8c0 [at] ROXY>

> ETCP does NOT certify a person as an "Inspector". While recognizing that =
and
> individual has the ability to recognize, identify, and remediate theatre
> riggings problems is part of the certification, it doesn't mean that pers=
on
> is a "Certified Inspector". That an inspector is a "Certified Theatre
> Rigger" is a qualification, not a description.
>=20
> It's a fine, legal distinction, and fraught with semantic challenges, but
> pretty clear in my mind.


Thanks Peter.  Like many others, I am still trying to figure out the
ETCP.  The ETCP Handbook that says that "ETCP certification ...
provides public validation and public recognition of your skills,"=20
but it does not seem to make reference (at least none that I could
fine)  to specific skills that a ETCP Certified Rigger can claim to
have.  In spite of the quote in the handbook, it seems to me that ETCP
certification does not certify a technician to have any specific
skills (qualifications to do any specific job). It seems to me that be
an ETCP Certified Technician is one thing, and claiming to be
"qualified"  to do a specific job is another.  Do you agree or
disagree?  If you disagree, can you tell us what skills an ETCP
Certified Technician can claim to have? This seems to be a VERY
important question because the ETCP Code of Ethics and Professional
Conduct states that an ETCP Certified Technician must "avoid actions
which falsely or misrepresent one's professional qualifications... "

The handbook states that, "Certifications indicates a substantial
professional commitment to the field and documents this expertise to
employers, colleagues and professional organizations." Is this a
"skill?"  I don't think so.  I just have not seem any specific skills
a ETCP Certified Technician can claim to have,  and I suspect we may
never see any.  Again, if I have missed this information, please point
me to it.

Finally, what knowledge/skills do you feel that one must possess in
order to claim to be a "qualified" (not certified) inspector of
mechanical counterweight systems? And, is this knowledge not covered
on the ETCP exam? It seems to me that it is (or should be), but I
would like to hear your opinion.  Again, let me say that I am talking
about being "qualified" (having the knowledge/skills) to do this job,
and not be being "certified" (have these specific skills recognized by
an independent organization).

The ETCP is very new and there is a great deal that I do not know
about it.  Thanks for answering my questions and setting me straight
on my misperceptions.

Thanks.

-Delbert

------------------------------

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Who said that? part 2
Date: Wed, 13 Apr 2005 08:20:44 -0700
In-Reply-To: <list-21812923 [at] prxy.net>
Message-ID: <auto-000021818940 [at] prxy.net>

That is how they make the digital masterpieces at IA. doom

-- 
Dr. Randall W.A. Davidson, Risk International & Associates, Inc. -
www.riskit.com   Latest workshops for Educational and Entertainment Industry
Performing Arts Personnel (Riggers, and Public Assembly and Educational
Technicians) www.riskit.com/workshops    International Secondary Education
Theater Safety Association (ISETSA) - www.isetsa.org

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jeff Forbes
Sent: Tuesday, April 12, 2005 11:18 PM
To: Stagecraft
Subject: Who said that? part 2

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Actually, it could have been the computer guys. The whole article is 
interesting. Trisha's working with a motion sensor system, Sensors on 
the dancers costumes are routed to a motion capture system that 
transmits data to another computer that draws graphic images projected 
on a "transparent screen" downstage, with the dancers lit upstage of 
it. The computer is effectively improvising its part of the dance. For 
1.8 million, you can try this at home.


Jeff A Forbes
PMB 124 6820 SE Foster Rd
Portland OR 97206
(503)-888-5619
www.performanceworksnw.org


------------------------------

Date: Wed, 13 Apr 2005 05:32:59 -1000
From: "Paul Guncheon" <paul.guncheon [at] verizon.net>
Subject: FW: related question
Message-id: <00e001c5403e$13c4ecf0$0202a8c0 [at] yourxhtr8hvc4p>
References: <list-21815055 [at] prxy.net>

>- cheap
>- fast
>- good
>
>Pick any two!

Its "Pick one".  Yes, we can (usually) get two, but you want the person
making this decision to show you their focus.  If they have NO budget, it'd
be nice to know that up front.  Pick one.   Once that is done, you can
start taking about what their second most important diciding factor is...
Chris "Chris" Babbie>>

Seems like The first pick would be the client's dream, the second would be
their reality.

"It's gotta be good... but it's gotta be cheap."

Laters,

Paul

"Ouch!" yelled Tom sorely.


------------------------------

Date: Wed, 13 Apr 2005 11:33:29 -0400
From: Stephen Litterst <slitterst [at] ithaca.edu>
Subject: Re: baaack & related question
Message-id: <425D3BC9.3B3E3170 [at] ithaca.edu>
Organization: IC-Dept. of Theatre Arts
References: <list-21813251 [at] prxy.net>

"C. Dopher" wrote:
> ---------------------------------------------------
> > After I left, she scrawled a rather rude note on a piece of legal pad
> > paper and taped it to the platform in question--and did this in the
> > presence of students.
> 
> Unfortunately, I think you were the one in error here.  Though her attitude
> could have been better, yours could have been, too.  Drawing or no, if the
> director asks for a railing, your job is to ask what kind and how high and
> when does she need it by?  Your snippy remark about you'll do it when you
> got a note about it was bound to get her riled up, since by simply asking
> you about the phantom railing, you WERE getting a note about it!

I'm going to have to back up Paul, here.  As the TD it's his job to
install the railing, not design it.  If the designer really doesn't
want a railing there, that's a discussion they should have and resolve
it without putting the TD in the middle. Perhaps he could have handled
it better (I don't know, I wasn't there) but the director needs to
communicate her needs through the scenic designer.  

Unless it's a railing on an escape platform in which case just put the
railing on.

Steve L.
-- 
Stephen C. Litterst
Technical Supervisor
Ithaca College
Dept. of Theatre Arts
607/274-3947
slitterst [at] ithaca.edu

------------------------------

Reply-To: <stagecraft [at] theatrewireless.com>
From: "jsmith at theatrewireless.com" <stagecraft [at] theatrewireless.com>
Subject: RE: related question
Date: Wed, 13 Apr 2005 11:50:43 -0400
Organization: Home of the RC4 Wireless Dimmer System
In-Reply-To: <list-21819154 [at] prxy.net>
Message-Id: <20050413155050.DGEX16985.tomts36-srv.bellnexxia.net [at] p3m866>

> >- cheap
> >- fast
> >- good
> >
> >Pick any two!
> 
> Its "Pick one".  Yes, we can (usually) get two, but you want 
> the person making this decision to show you their focus.  If 
> they have NO budget, it'd
> be nice to know that up front.  Pick one.   Once that is done, you can
> start taking about what their second most important diciding 
> factor is...
> Chris "Chris" Babbie>>
> 
> Seems like The first pick would be the client's dream, the 
> second would be their reality.
> 
> "It's gotta be good... but it's gotta be cheap."

You can have quality at low cost... But it won't be fast.
You can also have quality quickly... But it won't be cheap.
You can have fast and cheap -- no problem!! -- but it will not be good.
For custom stuff, with the appropriate team working on it, you CAN have any
two -- even the worst two.

For manufactured stuff you sometimes seem to get all three, but only because
production started before you asked.  The people behind the scenes at the
factory face the same dilemma of cheap/fast/good (What price do we need to
come in at?  How long can we wait to get the first pieces on sale?).  Beware
of a low-cost product that didn't exist at all last month -- it's likely to
be "good and cheap" in a bad way.

Jim
www.theatrewireless.com


------------------------------

Date: Wed, 13 Apr 2005 12:03:15 -0500
From: Mick Alderson <alderson [at] uwosh.edu>
Subject: Re: Delrin
Message-id: <0a0a9e4dc43095dd4f56f5c2a225a292 [at] uwosh.edu>

> Occy wrote:
>>
>>
>> Dale, that's a good idea, but what if the entire counter weight 
>> system is
>> built with Nylatron sheaves and headblocks? Its totally electrically
>> isolated from the building unless electrics are hung with grounds. I 
>> am sure
>> it won't be long until the NEC solves this problem with out some type 
>> of
>> bonding to the electrical ground of the building.
>
>     I'm an electrician, I prefer that all metal things in a system be 
> connected
> to the building electrical ground system.   This also allows one to 
> thread on
> things like zinc nuts as sacrificial anodes for corrosion control.
>
>     --Dale

This is assuming the system ground for electrics is made through the 
building steel. It isn't _supposed_ to be! The NEC already covers this 
question by requiring a grounding wire, (a.k.a. the "green wire" in US 
practice) to be included in the circuit cables. This is true for single 
circuit cables, multi-cables, flexible conduit, and even rigid metallic 
conduit (although that can also use the metal conduit itself as the 
ground conductor).  The point is, the path to ground or earth should be 
supplied by the electrical system, not by the rigging system 
components. In fact, the NEC doesn't want alternate paths to ground, 
with a few exceptions for farms and such.

That doesn't mean a batten won't be grounded, but instead of being done 
through the rigging cables (insulated as they are by delrin sheaves), 
it happens through the lighting instruments. As in: Green grounding 
wire from cable is bonded to instrument body internally. Yoke is 
attached to grounded body, C-clamp is attached to yoke. C-clamp bolt 
bites through paint on batten, bonding the batten at each instrument. 
This way, electrical grounding of the rigging system is the job of the 
electrical system, which should be designed to do that job, instead of 
depending on the rigging itself, which should concentrate on keeping 
everything from crashing to the floor!


Mick Alderson

TD, Fredric March Theatre
University of Wisconsin Oshkosh

alderson [at] uwosh.edu


------------------------------

Message-ID: <425D586C.CEC1A0A3 [at] cybercom.net>
Date: Wed, 13 Apr 2005 13:35:40 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: The  fuzz in the back of the fridge. 
Subject: Re: Delrin
References: <list-21820172 [at] prxy.net>



Mick Alderson wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> > Occy wrote:
> >>
> >>
> >> Dale, that's a good idea, but what if the entire counter weight
> >> system is
> >> built with Nylatron sheaves and headblocks? Its totally electrically
> >> isolated from the building unless electrics are hung with grounds. I
> >> am sure
> >> it won't be long until the NEC solves this problem with out some type
> >> of
> >> bonding to the electrical ground of the building.
> >
> >     I'm an electrician, I prefer that all metal things in a system be
> > connected
> > to the building electrical ground system.   This also allows one to
> > thread on
> > things like zinc nuts as sacrificial anodes for corrosion control.
> >
> >     --Dale
>
> This is assuming the system ground for electrics is made through the
> building steel. It isn't _supposed_ to be! The NEC already covers this
> question by requiring a grounding wire, (a.k.a. the "green wire" in US
> practice) to be included in the circuit cables. This is true for single
> circuit cables, multi-cables, flexible conduit, and even rigid metallic
> conduit (although that can also use the metal conduit itself as the
> ground conductor).  The point is, the path to ground or earth should be
> supplied by the electrical system, not by the rigging system
> components. In fact, the NEC doesn't want alternate paths to ground,
> with a few exceptions for farms and such.
>

   NEC calls for a comprehensive building ground system.  Including the
building steel frame and so on.  Constructing a building that is actually
not connected to ground is rather a challenge, and only done for things
like NMRI centers and other specialized construction.  Having all the
metal in the building connected to the building ground system gives
the electrical safety system another chance to correct the fault.
    Say the ground wire for the only instrument on the batten is open
for some reason. faulty cable, bad screw, corrosion, error, whatever.
If the pipe is not connected to the building ground system by another
path, when the instrument faults and energizes the pipe, the next
person who touches it when the light is energized, say the electrician
who is up there on the lift to replace what he thought was a blown
bulb, gets lit up instead when the ground path completes through them
and the genie lift.
    I like systems that require more than one failure to produce a
dangerous situation.

>
> That doesn't mean a batten won't be grounded, but instead of being done
> through the rigging cables (insulated as they are by delrin sheaves),
> it happens through the lighting instruments. As in: Green grounding
> wire from cable is bonded to instrument body internally. Yoke is
> attached to grounded body, C-clamp is attached to yoke. C-clamp bolt
> bites through paint on batten, bonding the batten at each instrument.
> This way, electrical grounding of the rigging system is the job of the
> electrical system, which should be designed to do that job, instead of
> depending on the rigging itself, which should concentrate on keeping
> everything from crashing to the floor!

   Agreed, to a point.  But going to the extra effort to electrically
insulate
the rigging seems pointless to me. It removes a safety ground path, and
the insulation on the weight bearing parts would wear through fairly
quickly, I would think.  I'm not going to count on the rigging system
to be grounded.  But if some yutz back at the shop miswired a lot of
cables, cutting off the ground wire, "Because it wasn't needed and was
too much trouble to crimp on.", I am going to really appreciate having
that alternate path to ground.
    Part of safety planning is knowing how things go when something fails.
If the system fails in a safe manner after [any given fault], then you have
a much safer system.

    --Dale



------------------------------

Date: Wed, 13 Apr 2005 13:42:14 -0400
Subject: Re: New here
From: "C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BE82D236.17A8A%brooklyn [at] dopher.com>
In-Reply-To: <list-21815055 [at] prxy.net>

Dale wrote: 
>    It's often
> a lot more challenging to put on a show in a hotel ballroom.  Where
> all you have to work with is (hopefully) a level floor and a heavy
> power feed vaguely nearby.  and you have to leave all the doorways
> unblocked so that the F&B folks can serve the dinner to the
> patrons between the speeches.

Well, Dale, if you and your crew would just look at my carefully crafted
groundplan and READ THE NOTES, you'll see I've considered those issues, such
that all parties involved have equipment areas outlined and all fire code
and kitchen access is kept intact.  :)

I keed, I keed... I'm coming to the realization that scenic drawings for
industrials are far more in the "good suggestion" category than "must be
this way" category than I'm used to in theatre.

Cris Dopher, LD
...and, inexplicably enough, Associate at Insight Design


------------------------------

Date: Wed, 13 Apr 2005 13:55:29 -0400
Subject: Re: Who said that? part 2
From: "C. Dopher" <brooklyn [at] dopher.com>
Message-ID: <BE82D551.17A8F%brooklyn [at] dopher.com>
In-Reply-To: <list-21815055 [at] prxy.net>

Jeff wrote: 
> Actually, it could have been the computer guys. The whole article is
> interesting. Trisha's working with a motion sensor system, Sensors on
> the dancers costumes are routed to a motion capture system that
> transmits data to another computer that draws graphic images projected
> on a "transparent screen" downstage, with the dancers lit upstage of
> it. The computer is effectively improvising its part of the dance. For
> 1.8 million, you can try this at home.

I saw a performance at ACTF over a decade ago that University of Kansas,
Kansas City, created.  It was a production of The Adding Machine and used a)
virtual sets, b) 3D projection technologies (with the polarizing glasses and
everything) and c) a virtual character controlled from backstage by an actor
wearing a motion-capture suit.

Space age stuff then and... Apparently, still is.  Haven't seen the like of
it since, though I've seen some good attempts.  And this was for
significantly less than $1.8 million.

Also, in more recent times, I had the priviledge of seeing a dance piece
that utilized the performers' interruption of lasers to trigger music
samples, in such ways that one or two of the lasers, if activated by itself,
was like the other music samples, but if activated in concert with other
activations, would be like a shift or control key and the whole soundscape
sampled from a different set.  Amazing beautiful movement and somewhat
creepy audioscape.

Cris Dopher, LD


------------------------------

Message-ID: <b7318c480504131058e67037d [at] mail.gmail.com>
Date: Wed, 13 Apr 2005 13:58:06 -0400
From: Delbert Hall <delbert.hall [at] gmail.com>
Reply-To: Delbert Hall <delbert.hall [at] gmail.com>
Subject: Re: baaack & related question
In-Reply-To: <list-21819170 [at] prxy.net>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net>

> I'm going to have to back up Paul, here.  As the TD it's his job to
> install the railing, not design it.  If the designer really doesn't
> want a railing there, that's a discussion they should have and resolve
> it without putting the TD in the middle. Perhaps he could have handled
> it better (I don't know, I wasn't there) but the director needs to
> communicate her needs through the scenic designer.
>=20
> Unless it's a railing on an escape platform in which case just put the
> railing on.
>=20
> Steve L.


I feel that the TD is also the "safety officer" and if the railings
were needed for safety purposes, this should have brought up during a
production meeting.  The set designer would then be put on notice that
he needed to design the railings and the deadline for submitting the
design to the shop.

A related story:
When I was a grad. student, I was the stagemanager for a production of
 Hamlet.  The set had a raked stage that became very slick during tech
rehearsals and the actors were falling because of this problem
(especially during the fight scenes).  The faculty set designer was
out-of-town and could not be reached, so the faculty director begged
me to fix the problem.  I discussed the problem with the student TD
and we came up with the idea to use strips of non-skid tape across the
stage.  The ran the idea past the director and showed him the pattern
for the strips that we planned to use.  He OKed our plan.  We added
the tape and this solved the sliding/falling problem. The director and
the actors were happy.  But when the set designer returned and saw our
"solution" he was very upset agruing that we had changed his design by
adding the strips of tape (yes, they were visible athough we did out
best to diminish their visibility) and should not have done so without
his approval.  I understood his point and actually agreed with it, but
I felt that the safety of the performers over-rode the artistic issue
(especially at the insistance of the director).

I agree with Steve here, in Paul's case, I feel that as long as the
set designer as available to design the railings, the note should have
gone to the designer, not the TD.  Once the TD got the design it would
then be the TD's job to make sure that the railings protect the actors
from falling.

That my opinion.=20

-Delbert

--=20
Delbert Hall
Phone: 423-772-4255

------------------------------

Subject: RE: baaack & related question
Date: Wed, 13 Apr 2005 14:06:54 -0400
Message-ID: <AA692554B034A84D977E17CD1E1C15690191E168 [at] ex2000.hccnet.howardcc.edu>
From: "jknipple" <jknipple [at] howardcc.edu>

I'm in a similar position right now. The designer and director have
divergent ideas (none of which are safety or even practicality
issues...just artistic differences). I get notes from the director about
something, and a different note from the designer about the same
something. I've been trying to facilitate communication, but it can be
hard. I've ended up pushing things back until they make up their minds.

ARGH!

Jim (in the middle of tech week)

James Knipple
=20
Technical Director
REP Stage - www.howardcc.edu/repstage
Student-Alumni Arts - Howard Community College=20
- www.howardcc.edu/studentarts
jknipple [at] howardcc.edu
410-772-4451


>If the designer really doesn't
want a railing there, that's a discussion they should have and resolve
it without putting the TD in the middle. Perhaps he could have handled
it better (I don't know, I wasn't there) but the director needs to
communicate her needs through the scenic designer.< =20


------------------------------

Date: Wed, 13 Apr 2005 13:14:43 -0500
Subject: Batten Grounding (was Delrin)
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE82CBC3.B253%gregpersin [at] comcast.net>
In-Reply-To: <list-21820469 [at] prxy.net>

Dale and Mick,

In the USA all of the electrics I have ever come across have grounds that
are bonded to the frame of the distribution connector strip.

In the case of a batten that does not have permanent distribution attached
to it you are at the mercy of the ground wire in the fixture and cabling you
are using to power the fixture. This is NEC's solution to the problem as
Mick pointed out.

Although I agree with Dale that there can be a ground path through the
rigging steel, this is not always guaranteed with the use of Nylatron
sheaves in the rigging system. Also this ground path, if present, may not be
as low a resistance as the ground through the Genie lift causing you to get
shocked anyway.

As a lighting guy dealing with power all of the time, I developed a habit of
making my first touch of an unknown, possibly energized, object with the
back of my hand before I grab it. This habit developed out of working with a
lot of generators (but that's another story) and has saved me from possible
severe shocks. This is a good first defense that you have total control of.

The other best defense is to keep your lighting gear and cable in good
working condition.

Beyond that if you are really worried about it you could add a ground wire
to your batten that is bonded to the building or an electrical ground.

Nothing is 100% guaranteed to keep you safe. If there is a failure of one or
multiple systems then the situation becomes unsafe, of course this is
generally what happens in a failure situation.


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com



------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Scheu Consulting Services" <peter [at] scheuconsulting.com>
Cc: delbert.hall [at] gmail.com ('Delbert Hall')
Subject: Rigging Certification vs. Being Qualified
Date: Wed, 13 Apr 2005 14:21:39 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <000701c54055$a8f2cf10$c9fea8c0 [at] ROXY>
In-Reply-To: <list-21818270 [at] prxy.net>

(WARNING! Longer than normal post!)

Delbert Hall wrote:

> In spite of the quote in the handbook, it=20
>seems to me that ETCP certification does not certify a=20
>technician to have any specific skills (qualifications to do=20
>any specific job).=20

I don't think the handbook is incorrect, but I agree with your =
perception of
the difference. ETCP will ONLY "certify" that one is proficient in a =
narrow,
well defined knowledge set. This comes from taking a carefully prepared =
and
*legally defensible* exam and candidate vetting process that tests =
specific
knowledge, and the proper application that knowledge.

>It seems to me that be an ETCP Certified=20
>Technician is one thing, and claiming to be "qualified"  to do=20
>a specific job is another.  Do you agree or disagree? =20

I agree wholeheartedly. Being qualified to do a specific task (or job)
doesn't necessarily require a "certification" in a certain "Body of
Knowledge" (unless required by law, such a medical certification). Many
other factors come into play, most importantly (IMHO) experience. Being
"qualified" is, admittedly, a somewhat subjective evaluation. For =
example,
one can be qualified to work on a car, but not be an SAE certified
technician. Or you could have extensive engineering training and =
experience,
but not be a PE.

Here's ESTA's most common definition of a "Qualified Person", used in =
many
of their standards: "A person who, by possession of a recognized degree =
or
certificate of professional standing, or who by extensive knowledge,
training and experience, has successfully demonstrated the ability to =
solve
or resolve problems relating to the subject matter and work."

Note the many uses of the word "or", especially after "...professional
standing..." There is no requirement that a "qualified" person be
"certified".

>The handbook states that, "Certifications indicates a=20
>substantial professional commitment to the field and documents=20
>this expertise to employers, colleagues and professional=20
>organizations." Is this a "skill?"  I don't think so. =20

I disagree. I think it is, but semantics, again I fear, muddy the issue.
First of all, one has to have a certain level of professional commitment =
and
experience to even take the exam, and most people with the required =
level of
experience have already "documented" this. In it's own way, it IS a =
skill to
have demonstrated that level of commitment, experience, and expertise to =
a
"legal" certainty.=20

>Finally, what knowledge/skills do you feel that one must=20
>possess in order to claim to be a "qualified" (not certified)=20
>inspector of mechanical counterweight systems?=20

Too numerous to mention here (such as knowledge of how to terminate =
cable
properly, knowing how to identify an unsafe condition, etc., etc., =
etc..),
but the most important to me is experience. The second is... experience. =
The
third is... experience. Well, you get my point...

>And, is this knowledge not covered on the ETCP exam?=20

The Theatre Rigging exam will cover some pretty specific knowledge =
related
to manual counterweight and motorized rigging systems. I'm legally bound =
not
to say any more than that. Should a "qualified" inspector be proficient =
in
this knowledge? You bet! Can an inspector not be "certified", but still =
be
"qualified"? Yes, but they can better document to others that they are
"qualified" by being "certified".

>Thanks for answering my questions and setting=20
>me straight on my misperceptions.

Gee, don't thank me just yet! I only hope my take on this is defensible!
;-)  Unca Bill may set me straight!

But you're welcome, anyway.

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com
Tel: 315.422.9984
fax: 413.513.4966


------------------------------

Date: Wed, 13 Apr 2005 14:29:19 -0400
Subject: Re: Who said that? part 2
From: Steve Larson <tiptd [at] theatreinthepark.com>
Message-ID: <BE82DD3F.4CBA%tiptd [at] theatreinthepark.com>
In-Reply-To: <list-21820741 [at] prxy.net>

I believe that you mean UMKC, the university of Missouri
at Kansas City.  Or, on the other hand the University of
Kansas in Lawrence, Ks.  I don't believe that KU has a
campus in KC.  But, times do change.

steve

> From: "C. Dopher" <brooklyn [at] dopher.com>
 
> I saw a performance at ACTF over a decade ago that University of Kansas,
> Kansas City, created.
> 
> 
> 


------------------------------

Message-ID: <b7318c48050413114543617d1b [at] mail.gmail.com>
Date: Wed, 13 Apr 2005 14:45:09 -0400
From: Delbert Hall <delbert.hall [at] gmail.com>
Reply-To: Delbert Hall <delbert.hall [at] gmail.com>
Cc: peter [at] scheuconsulting.com
Subject: Re: Rigging Certification vs. Being Qualified
In-Reply-To: <000701c54055$a8f2cf10$c9fea8c0 [at] ROXY>
References: <list-21818270 [at] prxy.net> <000701c54055$a8f2cf10$c9fea8c0 [at] ROXY>

Peter - Thank you for your informative respose to my questions.  I
liked your analogy of a car mechanic being "qualified" but not
"certified"

You said:=20
>ETCP will ONLY "certify" that one is proficient in a narrow,
> well defined knowledge set. This comes from taking a carefully prepared a=
nd
> *legally defensible* exam and candidate vetting process that tests specif=
ic
> knowledge, and the proper application that knowledge.

So, can an ETCP certified "Theatre Entertainment Rigger" claim that he
is "certified" to do everything listed in the "examination content
outline" (Pages  18-20 in the handbook)?  If not, what can he claim
that he is "certified" to do?

-Delbert

--=20
Delbert Hall
Phone: 423-772-4255

------------------------------

Message-ID: <425D6E5F.F21937E1 [at] cybercom.net>
Date: Wed, 13 Apr 2005 15:09:19 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: The  fuzz in the back of the fridge. 
Subject: Re: baaack & related question
References: <list-21820880 [at] prxy.net>



jknipple wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> I'm in a similar position right now. The designer and director have
> divergent ideas (none of which are safety or even practicality
> issues...just artistic differences). I get notes from the director about
> something, and a different note from the designer about the same
> something. I've been trying to facilitate communication, but it can be
> hard. I've ended up pushing things back until they make up their minds.
>
> ARGH!
>
> Jim (in the middle of tech week)
>
> James Knipple

    That's when I fall back to plan B.   Who signs the paycheck?

    --Dale



------------------------------

Reply-To: <peter [at] scheuconsulting.com>
From: "Scheu Consulting Services" <peter [at] scheuconsulting.com>
Cc: delbert.hall [at] gmail.com ('Delbert Hall')
Subject: RE: Rigging Certification vs. Being Qualified
Date: Wed, 13 Apr 2005 15:07:45 -0400
Organization: Scheu Consulting Services, Inc.
Message-ID: <000801c5405c$1b371210$c9fea8c0 [at] ROXY>
In-Reply-To: <list-21821363 [at] prxy.net>

Delbert Hall wrote:

>So, can an ETCP certified "Theatre Entertainment Rigger" claim 
>that he is "certified" to do everything listed in the 
>"examination content outline" (Pages  18-20 in the handbook)?  
>If not, what can he claim that he is "certified" to do?

He/she (let's not forget all those other folk) cannot claim that they are
certified "to do" anything.

What they can claim is that they are certified in "having demonstrated
proficiency in knowledge as tested by the ETCP" (my words, my quotes, not
anyone else's). A hair-splitting distinction, but an important one.

Peter Scheu

Scheu Consulting Services, Inc.
www.scheuconsulting.com
Tel: 315.422.9984
fax: 413.513.4966


------------------------------

Message-ID: <425D6E58.3080303 [at] JosephCHansen.com>
Date: Wed, 13 Apr 2005 15:09:12 -0400
From: Barney Simon <barney [at] JosephCHansen.com>
Organization: Joseph C Hansen Co. Inc.
Subject: Re: Cleaning Dance Floor
References: <list-21821192 [at] prxy.net>
In-Reply-To: <list-21821192 [at] prxy.net>

Well, after Kieth Arsenault's comments about the dance floor at 
Broadway's "Movin' Out"  I took a field trip and talked to the prop guys 
about their floor.  They were more than happy to talk about their 
floor.  Here are the notes:
- It is a Harlequin Floor, the do not remember which one.
- They are in their third year, and the floor's finish has worn off, 
except a couple of feet way downstage where the dancer's don't, you 
know, dance.
- They wish Harlequin sold a re-finisher
- They clean it with ammonia and water, but warn that the ammonia will 
leave a cloudy film.
- They clean it 'once a week or so' with "Simply Green" but that might 
have contributed to the finish wearing off.
- They recommend using the softest scrub pad (usually white) with your 
scrub machines...
- They occasionally use 'Slip No-Mor,' but as it tends to build up, they 
wait until about three or four days of complaining from the cast.

-- 
Barney Simon
JC Hansen Co., Inc
Drapes Drops and Dance Floors

423 West 43rd Street, NYC
212-246-8055 F:212-246-8189
JCHansen.com



------------------------------

Message-ID: <425D71DB.E0CD1215 [at] cybercom.net>
Date: Wed, 13 Apr 2005 15:24:11 -0400
From: Dale Farmer <dale [at] cybercom.net>
Organization: The  fuzz in the back of the fridge. 
Subject: Re: New here
References: <list-21820556 [at] prxy.net>



"C. Dopher" wrote:

> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> Dale wrote:
> >    It's often
> > a lot more challenging to put on a show in a hotel ballroom.  Where
> > all you have to work with is (hopefully) a level floor and a heavy
> > power feed vaguely nearby.  and you have to leave all the doorways
> > unblocked so that the F&B folks can serve the dinner to the
> > patrons between the speeches.
>
> Well, Dale, if you and your crew would just look at my carefully crafted
> groundplan and READ THE NOTES, you'll see I've considered those issues, such
> that all parties involved have equipment areas outlined and all fire code
> and kitchen access is kept intact.  :)
>
> I keed, I keed... I'm coming to the realization that scenic drawings for
> industrials are far more in the "good suggestion" category than "must be
> this way" category than I'm used to in theatre.

    There's a ground plan?  and NOTES?  Wow.   That's good.  Much
of the time what we have to work with is a floor diagram that we
swiped from the hotel housemen who are setting up the tables and
chairs.  While these ground plans do eventually show up, they are often
too late to do anything about it, as the rig is in the air and the wait staff
are setting the tables.    When the plan is there on time, and we set
things up correctly, the client inevitably comes in and wants some
major realignment of the room.
    The truck driver usually doesn't have anything but a bill of lading.
The housemen are working off the rough sketch diagram from the
original hotel contract, and the person with the information is still at
the airport and is expected in two hours.  The hotel has to have all
the gear in place in four hours so they can set the tables and chairs.
Been stuck in that place too many times.


    --Dale, who is feeling a bit snarky today.



------------------------------

Message-Id: <p05210600be83229a4751 [at] [132.236.252.58]>
In-Reply-To: <list-21821648 [at] prxy.net>
References: <list-21821192 [at] prxy.net> <list-21821648 [at] prxy.net>
Date: Wed, 13 Apr 2005 14:30:11 -0500
From: "richard j. archer" <rja10 [at] cornell.edu>
Subject: Vacu form machine

Group;

I know we've probably been down this street but does anyone know of a 
firm that sells a vacu form machine for under $5K or so?  We might 
have the money to buy new but not the two or three weeks to build 
one.  We had a home built variation of the old Bryson machine about 
15-18 years ago, but that's another story. Thanks.

Dick A
TD Cornell U

------------------------------

Message-Id: <16deb661f453b5ad61507d96155e5102 [at] uindy.edu>
From: Jim Ream <ream [at] uindy.edu>
Subject: Standard door dimensions
Date: Wed, 13 Apr 2005 14:50:37 -0500

Oh wise individuals,
One of my students asked the "standard" dimensions of a door.
I was able to relate the various standards for doors and rough openings.
Then someone asked why a door is 6 foot 8 inches. Why not seven feet.
Any information or conjecture would be appreciated.
Jim Ream
University of Indianapolis


------------------------------

Message-Id: <6.2.0.14.0.20050413145740.04a564d8 [at] mail.insightbb.com>
Date: Wed, 13 Apr 2005 15:02:20 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Standard door dimensions
In-Reply-To: <list-21822094 [at] prxy.net>
References: <list-21822094 [at] prxy.net>

Pure conjecture:

Standard height for a residential ceiling is about 8'1".  Take out 3" for 
the top plates and 11 1/2" for the typical largest door header (in a 
bearing wall) and you're down to 6' 10 1/2".  Take out the additional 2" 
for the rough opening and you're at 6' 8" -- with 1/2" at the bottom.

Mike

At 02:50 PM 4/13/2005, Jim Ream wrote:

>Then someone asked why a door is 6 foot 8 inches. Why not seven feet.
>Any information or conjecture would be appreciated.


------------------------------

In-Reply-To: <list-21820771 [at] prxy.net>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net> <list-21820771 [at] prxy.net>
Message-Id: <c4417027f15dcc928207382dd06f8db1 [at] dejazzd.com>
From: Greg Bierly <gbierly [at] dejazzd.com>
Subject: Re: baaack & related question
Date: Wed, 13 Apr 2005 16:07:14 -0400

> I agree with Steve here, in Paul's case, I feel that as long as the
> set designer as available to design the railings, the note should have
> gone to the designer, not the TD.  Once the TD got the design it would
> then be the TD's job to make sure that the railings protect the actors
> from falling.

In my case no one here (designer or director) have any clue about 
safety issues.   I as TD have to tell them that it NEEDS a railing.  As 
I have explained before that I have enough problems with our designer 
understanding the laws of physics.  (ie. why can't we cantilever a 16' 
platform with 2x4's over the audience and have 37 dancers tap on the 
very end of it [ok that is a little extreme but I assure you I am not 
exaggerating that much])


Greg Bierly
Technical Director
Hempfield HS


------------------------------

Message-ID: <b7318c4805041313191fa38f4b [at] mail.gmail.com>
Date: Wed, 13 Apr 2005 16:19:10 -0400
From: Delbert Hall <delbert.hall [at] gmail.com>
Reply-To: Delbert Hall <delbert.hall [at] gmail.com>
Subject: Re: baaack & related question
In-Reply-To: <list-21822232 [at] prxy.net>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net>
	 <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net>

>  why can't we cantilever a 16'
> platform with 2x4's over the audience and have 37 dancers tap on the
> very end of it=20

My favorite request is to have the instruments in the house positions
shine on the actors, but not on the scenery or the floor.

-Delbert

--=20
Delbert Hall
Phone: 423-772-4255

------------------------------

Subject: RE: Scuff Marks New Direction - MOVIN' OUT
Date: Wed, 13 Apr 2005 15:24:52 -0500
Message-ID: <95E1F758C14A0248B42D6FC9D67C7C32022F176B [at] CCUMAIL14.usa.ccu.clearchannel.com>
From: "Ehrenberg, Steven" <StevenEhrenberg [at] clearchannel.com>


Keith Arsenault wrote
"Speaking of Scuff Marks..........
I saw MOVIN' OUT last Friday eve in NYC.  As my seats were high center
in the balcony I had a good view of the stage surface.
At the top of the show the floor was a sparkling clean, moderately gloss
black surface, but by the end of the show it was a sea of scuff marks.
Friends, I am not talking about a few scuff and paint marks here and
there I am talking about a virtual Jackson Pollock like amalgamation of
swooooshes and scrapes that truly transform the look of the floor by the
end of the second act.  Of course those sitting in orchestra seats
probably can't see this at all.
Is there any one on the list on the MOVIN' OUT staff or crew that would
like to discuss=20
   a  what the surface actually is ?  ( Harlequin ? StageStep ?   Exotic
? Home brew ? )=20
   b  what is the daily procedure to clean it ?"

Once upon a time, for a few years long ago, when I was far less well
traveled & less jaded and I had a waist - I was the SM & PSM for the
Twyla Tharp Dance Co. Oh those # [at] $%**&## scuff marks, Jackson Pollack,
right on Keith, perfect image. Twyla's choreography leaves a distinctive
kind of curly, toe twisted shoe mark that I have really never seen from
another dance company. I used to be able to tell from the scuffmarks on
a floor as it was unrolled (most of the time we used local floors, and
did not carry our own) if the company had previously danced on that
particular floor. We dealt with the scuffmarks as follows- A bit of
elbow grease and a rag with denatured alcohol solvent, followed
immediately by a rag soaked in water, immediately drying the area with
another clean rag. This worked on 90% of the marks. For the really
stubborn marks we borrowed shoe dye remover from the wardrobe dept. and
used it extremely sparingly and quickly, repeating the process above.
Twyla's company also could not dance with gaffers tape on the top of the
dance floor - the same toe twisty choreography that leaves the
scuffmarks makes gaff tape a trip hazard for the dancers. We developed a
great method of laying dance floors with double-faced gaff tape from
below, easy, quick, great looking and safe- But that's another post!
Sorry to digress into my far distant past.
(Putting on my current hat) MOVIN' OUT's floor:
A) It is a Harlequin surface, on the road it is laid on a sprung touring
dance floor, in NYC, I believe it is on top of a speed deck, also with a
sprung floor
B) Cleaning - Daily they use mop and water with a tiny bit of Slipnomor
in it, and I believe they spot clean marks, unclear about what they use
to do the spot cleaning. As you stated the Orchestra seats can't see
much of this at all, I bet you saw it after the following step -Every
couple of weeks they buff the hell out of it with a nylon scrubbee type
pad and then immediately apply a Slipnomor & water mixture as the
buffing process can make it extremely slippery.

ATTENTION, EVERYONE OUT THERE ON THE LIST WITH LIMITED BUDGETARY
RESOURCES: MOVIN' OUT is a Broadway show. If the Buffing process is
damaging the floor and the show needs to purchase new one a couple of
times a year, because the cleaning process needed to keep the show
looking fresh is destroying the floor, it is not the end of the world
for them. This procedure used over the long run may be harmful to a
dance floor, the only dance floor you will have until someone coughs up
the bucks for a new one. Be cautious - do not try this at home - or if
you must, at least test it on an offstage portion of one panel of
flooring, or better yet on an old rehearsal floor. YMMV. End of
Disclaimer.

Steven

Steven Ehrenberg=20
Director of Technical Supervision=20
Clear Channel Entertainment - Theatrical=20
220 W 42nd St. 14th floor NY, NY 10036=20
Office 917 421 5461=20
Mobile 917 331 0207

------------------------------

Message-ID: <425D80C0.8090401 [at] peak.org>
Date: Wed, 13 Apr 2005 13:27:44 -0700
From: Pat Kight <kightp [at] peak.org>
Subject: Re: Standard door dimensions
References: <list-21822094 [at] prxy.net> <list-21822186 [at] prxy.net>
In-Reply-To: <list-21822186 [at] prxy.net>

Mike Brubaker wrote:

> Pure conjecture:
> 
> Standard height for a residential ceiling is about 8'1".  Take out 3" 
> for the top plates and 11 1/2" for the typical largest door header (in a 
> bearing wall) and you're down to 6' 10 1/2".  Take out the additional 2" 
> for the rough opening and you're at 6' 8" -- with 1/2" at the bottom.

I live in a 97-year-old house with 10- and 12-foot ceilings foot 
ceilings, which were not unusual in its day. Some of the doors (and 
hardware) are original.

And they're 6'8", too.

-- 
Pat Kight
Albany (Ore.) Civic Theater
kightp [at] peak.org

------------------------------

Message-ID: <014D202957F6D8118924000F20D7342B054B2C20 [at] az33exm01.corp.mot.com>
From: Wood Chip-P26398 <Chip.Wood [at] motorola.com>
Subject: RE: baaack & related question
Date: Wed, 13 Apr 2005 13:29:14 -0700

Oo-Oo, I know the answer.  It's because 18 boys and 18 girls plus a star don't have enough room on a 16' platform to do fan kicks.  Why don't you just make the platform bigger?

-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Greg Bierly

 why can't we cantilever a 16' platform with 2x4's over the audience and have 37 dancers tap on the very end of it 

------------------------------

Message-Id: <6.2.0.14.0.20050413162933.04915828 [at] mail.insightbb.com>
Date: Wed, 13 Apr 2005 16:30:16 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: Standard door dimensions
In-Reply-To: <list-21822464 [at] prxy.net>
References: <list-21822094 [at] prxy.net>
 <list-21822186 [at] prxy.net>
 <list-21822464 [at] prxy.net>

So much for conjecture...

Mike

At 03:27 PM 4/13/2005, Pat Kight wrote:
>>Pure conjecture:
>>Standard height for a residential ceiling is about 8'1".  Take out 3" for 
>>the top plates and 11 1/2" for the typical largest door
>
>I live in a 97-year-old house with 10- and 12-foot ceilings foot ceilings, 
>which were not unusual in its day. Some of the doors (and hardware) are 
>original.
>
>And they're 6'8", too.


------------------------------

Message-ID: <45c56d34050413143924676268 [at] mail.gmail.com>
Date: Wed, 13 Apr 2005 17:39:40 -0400
From: Jared Fortney <jared.fortney [at] gmail.com>
Reply-To: Jared Fortney <jared.fortney [at] gmail.com>
Subject: double-faced gaff tape?

Ehrenberg, Steven <StevenEhrenberg [at] clearchannel.com> wrote:
> "We developed a
> great method of laying dance floors with double-faced gaff tape from
> below, easy, quick, great looking and safe- But that's another post!

I'm ready for another post...  Where does one acquire double-faced
gaff tape?  Was this a special manufacture item or is it more similar
to carpet tape?  I'm very intrigued!
---
Jared Fortney
UC-CCM, TD&P

------------------------------

Subject: RE: double-faced gaff tape?
Date: Wed, 13 Apr 2005 17:54:57 -0400
Message-ID: <7AE59BA9B8D15D4787EB1C7A2DB6DFBA2A03BE [at] jekyll-sbs.ollsi.local>
From: "Abby Downing" <aldowning [at] onlocationls.com>
Cc: jared.fortney [at] gmail.com (Jared Fortney)

I believe Pro-tape is a source.  Lemme know if you need more info on it.

-----Original Message-----
From: Jared Fortney [mailto:jared.fortney [at] gmail.com]=20
Sent: Wednesday, April 13, 2005 4:40 PM
To: Stagecraft
Subject: double-faced gaff tape?

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Ehrenberg, Steven <StevenEhrenberg [at] clearchannel.com> wrote:
> "We developed a
> great method of laying dance floors with double-faced gaff tape from
> below, easy, quick, great looking and safe- But that's another post!

I'm ready for another post...  Where does one acquire double-faced
gaff tape?  Was this a special manufacture item or is it more similar
to carpet tape?  I'm very intrigued!
---
Jared Fortney
UC-CCM, TD&P

------------------------------

From: "Dr. Randall W.A. Davidson" <doomster [at] worldnet.att.net>
Subject: RE: Standard door dimensions
Date: Wed, 13 Apr 2005 15:17:41 -0700
In-Reply-To: <list-21822464 [at] prxy.net>
Message-ID: <auto-000021823610 [at] prxy.net>

You ought to try two places I have lived, Denver, the family home which is
now a historical building, built by my grandfather ..tallest member of the
family was 7' 2" (no nasty comments) and doors that were high enough for all
family members; and New Orleans, the Wisdom home from the 1700's, where the
ceilings were 24 feet off the floor ...egads. Real height for my Dad, but my
mom and I at 5'2" were out of sight. Doom 

-- 
Dr. Randall W.A. Davidson, Risk International & Associates, Inc. -
www.riskit.com   Latest workshops for Educational and Entertainment Industry
Performing Arts Personnel (Riggers, and Public Assembly and Educational
Technicians) www.riskit.com/workshops    International Secondary Education
Theater Safety Association (ISETSA) - www.isetsa.org
-----Original Message-----
From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Pat Kight
Sent: Wednesday, April 13, 2005 1:28 PM
To: Stagecraft
Subject: Re: Standard door dimensions

For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

Mike Brubaker wrote:

> Pure conjecture:
> 
> Standard height for a residential ceiling is about 8'1".  Take out 3" 
> for the top plates and 11 1/2" for the typical largest door header (in a 
> bearing wall) and you're down to 6' 10 1/2".  Take out the additional 2" 
> for the rough opening and you're at 6' 8" -- with 1/2" at the bottom.

I live in a 97-year-old house with 10- and 12-foot ceilings foot 
ceilings, which were not unusual in its day. Some of the doors (and 
hardware) are original.

And they're 6'8", too.

-- 
Pat Kight
Albany (Ore.) Civic Theater
kightp [at] peak.org


------------------------------

Subject: RE: double-faced gaff tape?
Date: Wed, 13 Apr 2005 15:20:09 -0700
Message-ID: <FCDE18CF571244479E0A078AE596BADC9A823C [at] ftp.elslights.com>
From: "Joe Golden" <Joe [at] elslights.com>

***WARNING COMMERCIAL POST***

Myself or any of the dealers on the list can sell you that.

Joe


>=20
> I'm ready for another post...  Where does one acquire=20
> double-faced gaff tape?  Was this a special manufacture item=20
> or is it more similar to carpet tape?  I'm very intrigued!
> ---
> Jared Fortney
> UC-CCM, TD&P
>=20

------------------------------

Message-ID: <b7aa28010504131527458b9e9 [at] mail.gmail.com>
Date: Wed, 13 Apr 2005 18:27:44 -0400
From: Brian Munroe <bpmunroe [at] gmail.com>
Reply-To: Brian Munroe <bpmunroe [at] gmail.com>
Subject: Re: double-faced gaff tape?
In-Reply-To: <list-21823371 [at] prxy.net>
References: <list-21823371 [at] prxy.net>

On 4/13/05, Abby Downing <aldowning [at] onlocationls.com> wrote:
> I believe Pro-tape is a source.  Lemme know if you need more info on it.
>=20
> -----Original Message-----
> From: Jared Fortney [mailto:jared.fortney [at] gmail.com]
> I'm ready for another post...  Where does one acquire double-faced
> gaff tape?  Was this a special manufacture item or is it more similar
> to carpet tape?  I'm very intrigued!
> ---
> Jared Fortney
> UC-CCM, TD&P
>=20

That's protapes.com, not pro-tape.com.  Unless you want to buy
recording tape.  There is no double-faced "gaff" tape (afaik), but you
can find heavy duty carpet tape.

Brian Munroe
bpmunroe [at] gmail.com

------------------------------

Date: Wed, 13 Apr 2005 13:04:12 -1000
Subject: Scrim repair
From: Shell Dalzell <SDalzell [at] hawaii.rr.com>
Message-ID: <BE82C94C.5C081%SDalzell [at] hawaii.rr.com>
In-Reply-To: <list-21799078 [at] prxy.net>

Using the good / fast/ cheap concept for scrim repair, I have had good
results (not perfect) using an embroidery hoop.  I put the area to be
repaired in the hoop, and then Sobo Glue a repair piece in position.

By backing the scrim with some saran wrap covered styro and pinning the
repair piece in place and then dabbing glue around the edges, you get a
decent repair in a short amount of time, and it can usually be done in
place.

Good luck and aloha,

Shell


------------------------------

Message-ID: <20050413233827.59253.qmail [at] web54003.mail.yahoo.com>
Date: Wed, 13 Apr 2005 16:38:26 -0700 (PDT)
From: "Jay, Jay Maury, Maury" <tnlighting [at] yahoo.com>
Subject: CPU lighting control
In-Reply-To: <list-21815055 [at] prxy.net>

Light Factory!


LIGHT FACTORY!!!

The software is really good, their site has templates
for a Point-Of-Sale keyboard to be used, it takes DMX
in as submasters.

Unlike most of the moving-lights-only oriented
software packages, it has a command line interface for
" and / thru / at " level setting.

Like the Martin software, it is free to download and
experiment with.  For educational venues, packages
start at $250.  The software is still growing to
maturity, but the current revision is almost perfect,
and it has been reliable all along.

www.lifact.com


		
__________________________________ 
Do you Yahoo!? 
Yahoo! Small Business - Try our new resources site!
http://smallbusiness.yahoo.com/resources/

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <141.438d6b6b.2f8f0a03 [at] aol.com>
Date: Wed, 13 Apr 2005 19:49:23 EDT
Subject: Re: Delrin

In a message dated 13/04/05 18:05:52 GMT Daylight Time, alderson [at] uwosh.edu 
writes:

> That doesn't mean a batten won't be grounded, but instead of being done 
>  through the rigging cables (insulated as they are by delrin sheaves), 
>  it happens through the lighting instruments. As in: Green grounding 
>  wire from cable is bonded to instrument body internally. Yoke is 
>  attached to grounded body, C-clamp is attached to yoke. C-clamp bolt 
>  bites through paint on batten, bonding the batten at each instrument. 
>  This way, electrical grounding of the rigging system is the job of the 
>  electrical system, which should be designed to do that job, instead of 
>  depending on the rigging itself, which should concentrate on keeping 
>  everything from crashing to the floor!

In the UK, it is usual for the batten to be grounded other than through the 
luminaires hung from it. Certainly one must never rely on the suspension wires. 
If, by mischance, the luminaires fail to provide an adequate ground current 
path, and the fault current tries to make its way to ground through the 
suspension , there can be big problems. Steel wire is not a terribly good conductor, 
having about 40 times the resistance of copper, and fault currents may be 
large. Enough to heat the suspension wires to red heat, at which temperature they 
have lost a lot of their sterngth. I have heard of this happening, although I 
have not seen it. Apart from the electrical hazard, you may have the whole 
thing fall.

OK, it's a remote chance. I think that there must have been serious breaches 
of the electrical codes, but such things can happen. 



Frank Wood

------------------------------

Message-ID: <033a01c54084$1cc7e410$6401a8c0 [at] chris>
From: "Chris Warner" <bearz2 [at] cox.net>
Cc: delbert.hall [at] gmail.com (Delbert Hall)
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net> <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net> <list-21822352 [at] prxy.net>
Subject: Re: baaack & related question
Date: Wed, 13 Apr 2005 16:54:21 -0700

That's why we invented high side lighting positions!!!!

Chris

----- Original Message ----- 
From: "Delbert Hall" <delbert.hall [at] gmail.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, April 13, 2005 1:19 PM
Subject: Re: baaack & related question


For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
---------------------------------------------------

>  why can't we cantilever a 16'
> platform with 2x4's over the audience and have 37 dancers tap on the
> very end of it 

My favorite request is to have the instruments in the house positions
shine on the actors, but not on the scenery or the floor.

-Delbert

-- 
Delbert Hall
Phone: 423-772-4255


-- 
No virus found in this incoming message.
Checked by AVG Anti-Virus.
Version: 7.0.308 / Virus Database: 266.9.8 - Release Date: 4/13/2005




-- 
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.308 / Virus Database: 266.9.8 - Release Date: 4/13/2005


------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <d1.26ad8143.2f8f0b56 [at] aol.com>
Date: Wed, 13 Apr 2005 19:55:02 EDT
Subject: Re: Delrin

In a message dated 13/04/05 18:35:23 GMT Daylight Time, dale [at] cybercom.net 
writes:

>     I like systems that require more than one failure to produce a
>  dangerous situation.
 
So do I. A live-to-case failure on a luminaire, and a case-to-earth failure 
at the same time will do.

Frank Wood

------------------------------

From: FrankWood95 [at] aol.com
Message-ID: <191.3d33e17f.2f8f111f [at] aol.com>
Date: Wed, 13 Apr 2005 20:19:43 EDT
Subject: Re: baaack & related question

In a message dated 13/04/05 18:58:30 GMT Daylight Time, 
delbert.hall [at] gmail.com writes:

> > I'm going to have to back up Paul, here.  As the TD it's his job to
>  > install the railing, not design it.  If the designer really doesn't
>  > want a railing there, that's a discussion they should have and resolve
>  > it without putting the TD in the middle. Perhaps he could have handled
>  > it better (I don't know, I wasn't there) but the director needs to
>  > communicate her needs through the scenic designer.

It is all about communication. You need to make sure that those who need to 
know know what they need to know. I'll give you an instance.

Many years ago, I lit Arthur Miller's "The Crucible". As we work normally on 
an arena stage, we use little scenery, and rely on the lighting design to 
create the spaces. We also have a very leisurely schedule, getting in on Sunday 
afternoon, and running the tech the following Saturday.

The day before the tech, the director says to me, "By the way, the Act I 
window isn't thee, and the Act II window isn't there, nor is that in Act III." 
This involved a lot of re-rigging. I thought that I was very moderate when I 
asked her, "Why did you not tell me sooner?", albeit in a pointed fashion.I got 
some garbled reply about a message which had gone astray, which I did not 
believe.

At the production conference, and at any preliminary meetings, I think that 
the director ought to have the show defined. They may change their minds, and I 
don't really mind that, IF they tell me what they have changed them to. Beink 
kept in the dark is frustrating, and non-productive. 


Frank Wood

------------------------------

Message-Id: <6.2.0.14.0.20050413194558.01bd16d0 [at] mail.insightbb.com>
Date: Wed, 13 Apr 2005 19:46:45 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: baaack & related question
Cc: delbert.hall [at] gmail.com (Delbert Hall)
In-Reply-To: <list-21824526 [at] prxy.net>
References: <list-21813251 [at] prxy.net>
 <list-21819170 [at] prxy.net>
 <list-21820771 [at] prxy.net>
 <list-21822232 [at] prxy.net>
 <list-21822352 [at] prxy.net>
 <list-21824526 [at] prxy.net>

How do you keep the light off the floor?

Mike

At 06:54 PM 4/13/2005, Chris Warner wrote:

>That's why we invented high side lighting positions!!!!
>
>----- Original Message -----
>From: "Delbert Hall" <delbert.hall [at] gmail.com>
>
>My favorite request is to have the instruments in the house positions
>shine on the actors, but not on the scenery or the floor.


------------------------------

Message-ID: <03bb01c5408d$a06299b0$6401a8c0 [at] chris>
From: "Chris Warner" <bearz2 [at] cox.net>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net> <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net> <list-21822352 [at] prxy.net> <list-21824526 [at] prxy.net> <list-21824965 [at] prxy.net>
Subject: Re: baaack & related question
Date: Wed, 13 Apr 2005 18:02:27 -0700

Focus HIGH!

Chris

----- Original Message ----- 
From: "Mike Brubaker" <mdbrubaker [at] insightbb.com>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Cc: "Delbert Hall" <delbert.hall [at] gmail.com>
Sent: Wednesday, April 13, 2005 5:46 PM
Subject: Re: baaack & related question


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
> 
> How do you keep the light off the floor?
> 
> Mike
> 
> At 06:54 PM 4/13/2005, Chris Warner wrote:
> 
> >That's why we invented high side lighting positions!!!!
> >
> >----- Original Message -----
> >From: "Delbert Hall" <delbert.hall [at] gmail.com>
> >
> >My favorite request is to have the instruments in the house positions
> >shine on the actors, but not on the scenery or the floor.
> 
> 
> 
> -- 
> No virus found in this incoming message.
> Checked by AVG Anti-Virus.
> Version: 7.0.308 / Virus Database: 266.9.8 - Release Date: 4/13/2005
> 
> 


-- 
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.308 / Virus Database: 266.9.8 - Release Date: 4/13/2005


------------------------------

In-Reply-To: <list-21824965 [at] prxy.net>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net> <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net> <list-21822352 [at] prxy.net> <list-21824526 [at] prxy.net> <list-21824965 [at] prxy.net>
Message-Id: <345e286455c72c2ffb2f359abcab39f4 [at] appstate.edu>
From: Greg Williams <gwilliams [at] appstate.edu>
Subject: Re: baaack & related question
Date: Wed, 13 Apr 2005 21:06:07 -0400

>> ----- Original Message -----
>> From: "Delbert Hall" <delbert.hall [at] gmail.com>
>>
>> My favorite request is to have the instruments in the house positions
>> shine on the actors, but not on the scenery or the floor.
>

On Apr 13, 2005, at 8:46 PM, Mike Brubaker wrote:

> How do you keep the light off the floor?
>
> Mike

Mike,

I usually try to use LumenAbsorb (tm), although if that's not available 
at the local Lowe's, I'll settle for LightAway (tm).

An even application about 3 feet above floor level will allow a smooth 
absorption rate which looks almost natural as the candlepower fades 
into nothing.

Hope this helps.

-=Greg Williams=-
Production Manager
Valborg Theatre, Appalachian State University
------We're at it again!!!------
Check out the Long Reach Long Riders cross country fund raiser for 
BC/EFA at http://sapsis-rigging.com/LRLR.html


------------------------------

Message-ID: <03c301c54092$f15f88a0$6401a8c0 [at] chris>
From: "Chris Warner" <bearz2 [at] cox.net>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net> <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net> <list-21822352 [at] prxy.net> <list-21824526 [at] prxy.net> <list-21824965 [at] prxy.net> <list-21825122 [at] prxy.net>
Subject: Re: baaack & related question
Date: Wed, 13 Apr 2005 18:40:30 -0700

How about BEAM stop!  I like beam thru, when you want that light to gro thru
the scenery!

Crhsi

----- Original Message ----- 
From: "Greg Williams" <gwilliams [at] appstate.edu>
To: "Stagecraft" <stagecraft [at] theatrical.net>
Sent: Wednesday, April 13, 2005 6:06 PM
Subject: Re: baaack & related question


> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>
> >> ----- Original Message -----
> >> From: "Delbert Hall" <delbert.hall [at] gmail.com>
> >>
> >> My favorite request is to have the instruments in the house positions
> >> shine on the actors, but not on the scenery or the floor.
> >
>
> On Apr 13, 2005, at 8:46 PM, Mike Brubaker wrote:
>
> > How do you keep the light off the floor?
> >
> > Mike
>
> Mike,
>
> I usually try to use LumenAbsorb (tm), although if that's not available
> at the local Lowe's, I'll settle for LightAway (tm).
>
> An even application about 3 feet above floor level will allow a smooth
> absorption rate which looks almost natural as the candlepower fades
> into nothing.
>
> Hope this helps.
>
> -=Greg Williams=-
> Production Manager
> Valborg Theatre, Appalachian State University
> ------We're at it again!!!------
> Check out the Long Reach Long Riders cross country fund raiser for
> BC/EFA at http://sapsis-rigging.com/LRLR.html
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG Anti-Virus.
> Version: 7.0.308 / Virus Database: 266.9.8 - Release Date: 4/13/2005
>
>



-- 
No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.308 / Virus Database: 266.9.8 - Release Date: 4/13/2005


------------------------------

Message-Id: <6.2.1.2.0.20050413184142.03dfd100 [at] localhost>
Date: Wed, 13 Apr 2005 18:42:26 -0700
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: baaack & related question
In-Reply-To: <list-21825122 [at] prxy.net>
References: <list-21813251 [at] prxy.net>
 <list-21819170 [at] prxy.net>
 <list-21820771 [at] prxy.net>
 <list-21822232 [at] prxy.net>
 <list-21822352 [at] prxy.net>
 <list-21824526 [at] prxy.net>
 <list-21824965 [at] prxy.net>
 <list-21825122 [at] prxy.net>

At 06:06 PM 4/13/2005, you wrote:
>I usually try to use LumenAbsorb (tm), although if that's not available at 
>the local Lowe's, I'll settle for LightAway (tm).

Does that come in a spray can for localized blackouts?  Maybe a 
fogger-juice version for doing night scenes outdoors during the day?


----------
Jerry Durand
Durand Interstellar, Inc.
219 Oak Wood Way
Los Gatos, California 95032-2523  USA
tel:  +1 408 356-3886
fax:  +1 408 356-4659
web:  www.interstellar.com



------------------------------

In-Reply-To: <list-21825420 [at] prxy.net>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net> <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net> <list-21822352 [at] prxy.net> <list-21824526 [at] prxy.net> <list-21824965 [at] prxy.net> <list-21825122 [at] prxy.net> <list-21825420 [at] prxy.net>
Message-Id: <58cde03948484bff58e9121a5a21eff7 [at] appstate.edu>
From: Greg Williams <gwilliams [at] appstate.edu>
Subject: Re: baaack & related question
Date: Wed, 13 Apr 2005 21:51:30 -0400


On Apr 13, 2005, at 9:42 PM, Jerry Durand wrote:

> At 06:06 PM 4/13/2005, you wrote:
>> I usually try to use LumenAbsorb (tm), although if that's not 
>> available at the local Lowe's, I'll settle for LightAway (tm).
>
> Does that come in a spray can for localized blackouts?  Maybe a 
> fogger-juice version for doing night scenes outdoors during the day?
>

Jerry,
	No spray can version yet, although the special applicator brush that 
allows you to start the application at 3' above the stage level will 
also allow for localized blackouts.

	There's a rumor of a fogger-juice version on the marketing horizon, 
but it's a Black Ops gig, and not yet approved for use by the opera 
singers.

-=Greg Williams=-
Production Manager
Valborg Theatre, Appalachian State University
------We're at it again!!!------
Check out the Long Reach Long Riders cross country fund raiser for 
BC/EFA at http://sapsis-rigging.com/LRLR.html


------------------------------

Date: Wed, 13 Apr 2005 20:39:57 -0400
From: Chris Davis <cdavis309 [at] optonline.net>
Subject: Re: baaack & related question
In-reply-to: <list-21824526 [at] prxy.net>
Message-id: <5.1.0.14.0.20050413203743.00a23be0 [at] mail-hub.optonline.net>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net>
 <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net> <list-21822352 [at] prxy.net>

But that's when the "What's that light on the floor next to the actors?" 
stuff starts.


At 04:54 PM 4/13/2005 -0700, Chris Warner wrote:


>That's why we invented high side lighting positions!!!!
>
>
> >My favorite request is to have the instruments in the house positions
> >shine on the actors, but not on the scenery or the floor.
>
> >-Delbert

__________________________________
Chris Davis     cdavis [at] queenstheatre.org
Associate Lighting Supervisor
Queens Theatre In The Park
http://www.queenstheatre.org




------------------------------

Message-ID: <007d01c54096$e8c9d2a0$5d7e7244 [at] D78YGH41>
From: "Steve" <sschepker [at] charter.net>
Subject: Music Man Rental Scenery
Date: Wed, 13 Apr 2005 21:08:50 -0500

Greetings,
Does anyone have a lead on Music Man rental scenery?  I am looking for
drops.  I have a qoute from Kenmark,
but looking for other options.
Thanks in advance,
Steve Schepker
Southeastern Louisiana University



------------------------------

Message-Id: <6.2.0.14.0.20050413210624.01d81008 [at] mail.insightbb.com>
Date: Wed, 13 Apr 2005 21:10:25 -0500
From: Mike Brubaker <mdbrubaker [at] insightbb.com>
Subject: Re: baaack & related question
In-Reply-To: <list-21825122 [at] prxy.net>
References: <list-21813251 [at] prxy.net>
 <list-21819170 [at] prxy.net>
 <list-21820771 [at] prxy.net>
 <list-21822232 [at] prxy.net>
 <list-21822352 [at] prxy.net>
 <list-21824526 [at] prxy.net>
 <list-21824965 [at] prxy.net>
 <list-21825122 [at] prxy.net>

I called around to our local suppliers, including our local theatrical 
supplier.  None of them has either product in stock.  Any chance that 
there's an online supplier?  Have any of you used Light Stop (available in 
spray form) with any success?

In related news, I hear that ETC is working on a new fixture with five 
shutters: the usual four plus one to set the distance the beam travels.  I 
haven't heard the name for it, though.

Mike

At 08:06 PM 4/13/2005, Greg Williams wrote:

>I usually try to use LumenAbsorb (tm), although if that's not available at 
>the local Lowe's, I'll settle for LightAway (tm).


------------------------------

Date: Wed, 13 Apr 2005 22:18:08 -0400
From: "Rob Carovillano" <rcarovillano [at] verizon.net>
Subject: Heat Shrink Cable Labels
Message-id: <000301c54098$330a8020$a8a44481 [at] rcarovil>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net>
 <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net> <list-21822352 [at] prxy.net>
 <list-21824526 [at] prxy.net> <list-21824965 [at] prxy.net> <list-21825122 [at] prxy.net>
 <list-21825694 [at] prxy.net>

Anyone know the best (cheapest, but good quality) source for heat shrink 
cable labels.  I browsed through my Full Compass catalog but unless I missed 
it they werent in there.

Rob Carovillano
Technical Director
Bluett Theatre
Saint Joseph's University
610-660-1044
rcarovil [at] sju.edu 


------------------------------

Message-ID: <028a01c54099$34fa25b0$650fa8c0 [at] veronica>
From: "Mt. Angel Performing Arts" <admin [at] mtangelperformingarts.com>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net> <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net> <list-21822352 [at] prxy.net> <list-21824526 [at] prxy.net> <list-21824965 [at] prxy.net> <list-21825122 [at] prxy.net> <list-21825694 [at] prxy.net>
Subject: Re: baaack & related question
Date: Wed, 13 Apr 2005 19:25:19 -0700

> At 08:06 PM 4/13/2005, Greg Williams wrote:
>
> >I usually try to use LumenAbsorb (tm), although if that's not available
at
> >the local Lowe's, I'll settle for LightAway (tm).
>

I'm surprised that nobody yet has mentioned the product we use exclusively -
IntelliDark fixtures...

Currently available in scoops, ellipsoidals and fresnels. Coming soon (well,
as soon as our engineering department gets off their coffee break) in a
variety of moving lights using standard serial interfaces compatible with
most control systems. US and foreign patents pending.

The IntelliDark instruments incorporate special active filtering to provide
precisely focused radiant energy that is exactly one-half wavelength out of
phase with the illumination provided by standard stage fixtures. Just 'add'
that to your stage mix and voila' - selective darkness on command.

Tongue firmly in cheek (but we are accepting advance orders with
prepayment) -

Carla



------------------------------

Message-ID: <468d22820504131933c3723a0 [at] mail.gmail.com>
Date: Wed, 13 Apr 2005 22:33:47 -0400
From: Michael Beyer <mjblight [at] gmail.com>
Reply-To: Michael Beyer <mjblight [at] gmail.com>
Subject: Re: Scrim repair
In-Reply-To: <list-21824096 [at] prxy.net>
References: <list-21799078 [at] prxy.net> <list-21824096 [at] prxy.net>

I've done it... and in fact just suggested it to a poor soul whose
scrim has torn...  It works wonders.

Michael

On 4/13/05, Shell Dalzell <SDalzell [at] hawaii.rr.com> wrote:
> For info, archives & UNSUBSCRIBE, see <http://stagecraft.theprices.net/>
> ---------------------------------------------------
>=20
> Using the good / fast/ cheap concept for scrim repair, I have had good
> results (not perfect) using an embroidery hoop.  I put the area to be
> repaired in the hoop, and then Sobo Glue a repair piece in position.
>=20
> By backing the scrim with some saran wrap covered styro and pinning the
> repair piece in place and then dabbing glue around the edges, you get a
> decent repair in a short amount of time, and it can usually be done in
> place.
>=20
> Good luck and aloha,
>=20
> Shell
>=20
>=20


--=20
www.mjblightdesign.com

------------------------------

Message-ID: <425DD80B.9010609 [at] cleveland-theater.com>
Date: Wed, 13 Apr 2005 22:40:11 -0400
From: James Kosmatka <james [at] cleveland-theater.com>
Subject: Re: Who said that? part 2
References: <list-21820741 [at] prxy.net>
In-Reply-To: <list-21820741 [at] prxy.net>

I saw something similar at Region III ACTF in 2004.  It was The Tempest 
done by, I believe, Henry Ford Community College in the style of a 60's 
sci-fi film.  Ariel was a 3D computer generated humanoid, the scenery 
was a combination of twisted steel and 3D computer animated backdrops, 
red/blue glasses for the audience, the whole nine yards.  It was 
certainly an experience I will never forget.

-james kosmatka
student sound designer
cleveland state university

C. Dopher wrote:

>I saw a performance at ACTF over a decade ago that University of Kansas,
>Kansas City, created.  It was a production of The Adding Machine and used a)
>virtual sets, b) 3D projection technologies (with the polarizing glasses and
>everything) and c) a virtual character controlled from backstage by an actor
>wearing a motion-capture suit.
>
>Space age stuff then and... Apparently, still is.  Haven't seen the like of
>it since, though I've seen some good attempts.  And this was for
>significantly less than $1.8 million.
>  
>

------------------------------

From: "ladesigners [at] juno.com" <ladesigners [at] juno.com>
Date: Thu, 14 Apr 2005 03:25:27 GMT
Subject: Cancelling EMR
Message-Id: <20050413.202551.22730.336493 [at] webmail18.lax.untd.com>


Ironically, I was talking informally to some of my Theoretical Physicist buddies at CalTech some time ago, and asked them why, since noise cancelling works, why can't light cancelling work in the same way by utilizing monochromatic collimated (laser) light source at some frequency in the 350-700 Angstrom range 180 degrees out of phase with another monochromatic collimated (laser) light source at the exact same frequency? I had assumed that all parts of the energy spectrum from DC to Light (and beyond) should behave like EMR in the audible range under the same highly controlled 'vacuum/anechoic/non-EMR reflective' test conditions that are free of any particulate matter in the beam path that could refract the beam. I assumed wrong, I guess, as they immediately steered our conversation back to showing me their mathematical 'proofs' that disprove String Theory. Since arrays of monochromatic LEDs are being used as stage light sources, I thought there were some possibilities worth exploring, but, alas, perhaps not. 
/s/ Richard

------------------------------

Message-ID: <003101c540a2$1656bcf0$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net> <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net> <list-21822352 [at] prxy.net> <list-21824526 [at] prxy.net> <list-21824965 [at] prxy.net> <list-21825122 [at] prxy.net> <list-21825420 [at] prxy.net>
Subject: Re: baaack & related question
Date: Wed, 13 Apr 2005 20:28:55 -0700

>>I usually try to use LumenAbsorb (tm), although if that's not available at 
>>the local Lowe's, I'll settle for LightAway (tm).
>
> Does that come in a spray can for localized blackouts?  Maybe a 
> fogger-juice version for doing night scenes outdoors during the day?


Not sure, but I do know that both Light-B-Gon and Rosco Ellipsoidal Spot 
Remover comes in aerosol cans.

    -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
www.wlhstheatre.org 


------------------------------

Message-ID: <00a001c540a4$eae86480$e28aaa43 [at] DonTaco>
From: "Don Taco" <taco [at] peak.org>
References: <list-21813251 [at] prxy.net> <list-21819170 [at] prxy.net> <list-21820771 [at] prxy.net> <list-21822232 [at] prxy.net> <list-21822352 [at] prxy.net> <list-21824526 [at] prxy.net> <list-21824965 [at] prxy.net> <list-21825122 [at] prxy.net> <list-21825420 [at] prxy.net> <list-21826435 [at] prxy.net>
Subject: Re: baaack & related question
Date: Wed, 13 Apr 2005 20:49:09 -0700


----- Original Message ----- >
> Not sure, but I do know that both Light-B-Gon and Rosco Ellipsoidal Spot 
> Remover comes in aerosol cans.
>
>    -- Jon Ares


   You need to be very careful with that Spot remover.   I spilled some on 
my dog, and he's gone. 



------------------------------

Date: Wed, 13 Apr 2005 22:55:23 -0500
Subject: Re: Heat Shrink Cable Labels
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE8353DB.B2AA%gregpersin [at] comcast.net>
In-Reply-To: <list-21825780 [at] prxy.net>

Try Heatshrink.com


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com



------------------------------

Date: Wed, 13 Apr 2005 23:02:25 -0500
Subject: Re: baaack & related question
From: Greg Persinger <gregpersin [at] comcast.net>
Message-ID: <BE835581.B2AC%gregpersin [at] comcast.net>
In-Reply-To: <list-21825694 [at] prxy.net>

> In related news, I hear that ETC is working on a new fixture with five
> shutters: the usual four plus one to set the distance the beam travels.  I
> haven't heard the name for it, though.

Rumor has it that the working title of the fixture is the Counter
Revolution. Also it supposedly will only run on Emphasis using the
De-Emphasis software plug in for the system.

Although a fixture of this type seems like it would be positive it seems to
have a lot of negatives.


Greg Persinger
Vivid Illumination

Greg [at] Vividillumination.com



------------------------------

Message-ID: <000d01c540a8$36f73060$0600000a [at] BRUTUS>
From: "Jon Ares" <jonares [at] hevanet.com>
References: <list-21826695 [at] prxy.net>
Subject: Re: baaack & related question
Date: Wed, 13 Apr 2005 21:12:47 -0700

> Rumor has it that the working title of the fixture is the Counter
> Revolution.

Aren't they working on a series of European-only models?  The first one out 
in Q3 is the French Revolution, I believe.  More to follow.

(I'm eagerly awaiting the new ETC fixture the Inquisition. Spanish 
Inquisition last.  Because, as we all know, no one ever expects the 
Inquisition.  Though I did hear Mel Brooks will be using the Inquisition in 
his next Broadway show.)

    -- Jon Ares
Program Director, West Linn HS Theatre Arts
www.hevanet.com/acreative
www.wlhstheatre.org 


------------------------------

Message-Id: <6.2.1.2.0.20050413212133.02a08f08 [at] localhost>
Date: Wed, 13 Apr 2005 21:22:59 -0700
From: Jerry Durand <jdurand [at] interstellar.com>
Subject: Re: Cancelling EMR
In-Reply-To: <list-21826411 [at] prxy.net>
References: <list-21826411 [at] prxy.net>

At 08:25 PM 4/13/2005, you wrote:
>Ironically, I was talking informally to some of my Theoretical Physicist 
>buddies at CalTech some time ago, and asked them why, since noise 
>cancelling works, why can't light cancelling work in the same way by 
>utilizing monochromatic collimated (laser) light source at some frequency 
>in the 350-700 Angstrom range 180 degrees out of phase with another 
>monochromatic collimated (laser) light source at the exact same frequency?

The problem is the light waves (when it acts like a wave) aren't all in 
phase.  It's like trying to cancel white noise with "anti-white-noise".  In 
theory you could do it, but it would mean you'd have to figure out the 
phase of every wave.



----------
Jerry Durand
Durand Interstellar, Inc.
219 Oak Wood Way
Los Gatos, California 95032-2523  USA
tel:  +1 408 356-3886
fax:  +1 408 356-4659
web:  www.interstellar.com



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End of Stagecraft Digest #362
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